Indigenous Studies
Haymarket Books proudly brings back into print Winona LaDuke's seminal work of Native resistance to oppression.
This thoughtful, in-depth account of Native struggles against environmental and cultural degradation features chapters on the Seminoles, the Anishinaabeg, the Innu, the Northern Cheyenne, and the Mohawks, among others. Filled with inspiring testimonies of struggles for survival, each page of this volume speaks forcefully for self-determination and community.
Winona LaDuke was named by Time in 1994 as one of America's fifty most promising leaders under forty. In 1996 and 2000, LaDuke served as Ralph Nader's vice presidential running mate in the Green Party.
Unpacks the twenty-one most common myths and misconceptions about Native Americans In this enlightening book, scholars and activists Roxanne Dunbar-Ortiz and Dina Gilio-Whitaker tackle a wide range of myths about Native American culture and history that have misinformed generations. Tracing how these ideas evolved, and drawing from history, the authors disrupt long-held and enduring myths such as: "Columbus Discovered America"
"Thanksgiving Proves the Indians Welcomed Pilgrims"
"Indians Were Savage and Warlike"
"Europeans Brought Civilization to Backward Indians"
"The United States Did Not Have a Policy of Genocide"
"Sports Mascots Honor Native Americans"
"Most Indians Are on Government Welfare"
"Indian Casinos Make Them All Rich"
"Indians Are Naturally Predisposed to Alcohol" Each chapter deftly shows how these myths are rooted in the fears and prejudice of European settlers and in the larger political agendas of a settler state aimed at acquiring Indigenous land and tied to narratives of erasure and disappearance. Accessibly written and revelatory, "All the Real Indians Died Off" challenges readers to rethink what they have been taught about Native Americans and history.
"Thanksgiving Proves the Indians Welcomed Pilgrims"
"Indians Were Savage and Warlike"
"Europeans Brought Civilization to Backward Indians"
"The United States Did Not Have a Policy of Genocide"
"Sports Mascots Honor Native Americans"
"Most Indians Are on Government Welfare"
"Indian Casinos Make Them All Rich"
"Indians Are Naturally Predisposed to Alcohol" Each chapter deftly shows how these myths are rooted in the fears and prejudice of European settlers and in the larger political agendas of a settler state aimed at acquiring Indigenous land and tied to narratives of erasure and disappearance. Accessibly written and revelatory, "All the Real Indians Died Off" challenges readers to rethink what they have been taught about Native Americans and history.
The great Native American Novel of a battered veteran returning home to heal his mind and spirit More than thirty-five years since its original publication, Ceremony remains one of the most profound and moving works of Native American literature, a novel that is itself a ceremony of healing. Tayo, a World War II veteran of mixed ancestry, returns to the Laguna Pueblo Reservation. He is deeply scarred by his experience as a prisoner of the Japanese and further wounded by the rejection he encounters from his people. Only by immersing himself in the Indian past can he begin to regain the peace that was taken from him. Masterfully written, filled with the somber majesty of Pueblo myth, Ceremony is a work of enduring power. The Penguin Classics Deluxe Edition contains a new preface by the author and an introduction by Larry McMurtry. For more than seventy years, Penguin has been the leading publisher of classic literature in the English-speaking world. With more than 1,700 titles, Penguin Classics represents a global bookshelf of the best works throughout history and across genres and disciplines. Readers trust the series to provide authoritative texts enhanced by introductions and notes by distinguished scholars and contemporary authors, as well as up-to-date translations by award-winning translators.
In the decades since the passing of the Pamajewon ruling in Canada and the Indian Gaming Regulatory Act in the United States, gaming has come to play a crucial role in how Indigenous peoples are represented and read by both Indians and non-Indians alike. This collection presents a transnational examination of North American gaming and considers the role Indigenous artists and scholars play in producing depictions of Indigenous gambling. In an effort to offer a more complete and nuanced picture of Indigenous gaming in terms of sign and strategy than currently exists in academia or the general public, Gambling on Authenticity crosses both disciplinary and geographic boundaries. The case studies presented offer a historically and politically nuanced analysis of gaming that collectively creates an interdisciplinary reading of gaming informed by both the social sciences and the humanities. A great tool for the classroom, Gambling on Authenticity works to illuminate the not-so-new Indian being formed in the public's consciousness by and through gaming.
According to traditional Cheyenne belief, shields are living, spirit-filled beings, radiating supernatural power from the Supreme Being for protection and blessing. Shields stand at the nexus of several dimensions of Cheyenne culture, including spirituality, warfare, and artistic expression.
From 1902 to 1906, fifty Cheyenne elders spoke with famed ethnologist James Mooney, sharing with him their interpretations of shield and tipi heraldry. Mooney's handwritten field notes of these conversations are the single best source of information on Plains Native shields and tipi art available and are a source of inestimable value today for both the Cheyennes and for scholars.
In 1955, with the blessing and permission of the Keepers of the Two Great Covenants and the Chiefs and Headmen of the Northern and Southern Cheyenne People, Father Peter J. Powell began a five-decade effort to help preserve the religion, culture, and history of the Cheyenne People for the generations ahead. His transcriptions and annotations of Mooney's notes on Cheyenne heraldry is the culmination of these efforts. This two-volume set features nearly 150 color illustrations as well as more than 50 black and white photographs.
This well-researched book provides details of the varied steps that certain groups of Native Americans have used to express their dance ideas - from skips, jumps, and hop steps, to an Indian form of the pas de bourrée. Similarities to Oriental dances, classical ballet, Spanish and Russian variants, and steps in other dance forms are also considered. Examples are given of Indian dance music, words, and descriptive sounds that accompany this music, and the choreography of certain typical Indian dances of the Southwest. Authentic illustrations by a Native American artist depict dancers, while outline figures characterize steps and postures. An inportant addition to the libraries of anthropologists and students of Native American culture, this classic will be invaluable to ethnomusicologists and choreographers.
Who is a Native American? And who gets to decide? From genealogists searching online for their ancestors to fortune hunters hoping for a slice of casino profits from wealthy tribes, the answers to these seemingly straightforward questions have profound ramifications. The rise of DNA testing has further complicated the issues and raised the stakes.
In Native American DNA, Kim TallBear shows how DNA testing is a powerful--and problematic--scientific process that is useful in determining close biological relatives. But tribal membership is a legal category that has developed in dependence on certain social understandings and historical contexts, a set of concepts that entangles genetic information in a web of family relations, reservation histories, tribal rules, and government regulations. At a larger level, TallBear asserts, the "markers" that are identified and applied to specific groups such as Native American tribes bear the imprints of the cultural, racial, ethnic, national, and even tribal misinterpretations of the humans who study them.
TallBear notes that ideas about racial science, which informed white definitions of tribes in the nineteenth century, are unfortunately being revived in twenty-first-century laboratories. Because today's science seems so compelling, increasing numbers of Native Americans have begun to believe their own metaphors: "in our blood" is giving way to "in our DNA." This rhetorical drift, she argues, has significant consequences, and ultimately she shows how Native American claims to land, resources, and sovereignty that have taken generations to ratify may be seriously--and permanently--undermined.
North American indigenous literature began over thirty thousand years ago when indigenous people began telling stories of emergence and creation, journey and quest, and heroism and trickery. By setting indigenous literature in historical moments, Sean Teuton skillfully traces its evolution from the ancient role of bringing rain and healing the body, to its later purpose in resisting European invasion and colonization, into its current place as a world literature that confronts dominance while celebrating the imagination and resilience of indigenous lives. By the time Europeans arrived in North America indigenous people already understood the power of written language and the need to transmit philosophy, history, and literature across generations and peoples. Seeking out multiple literary forms such as sermon, poetry, and novel to serve differing worldviews, indigenous authors have shaped their writing into North American indigenous literature as we recognize it today. In this lucid narrative, Sean Teuton leads readers into indigenous worlds. He describes the invention of a written indigenous language, the first indigenous language newspaper, and the literary occupation of Alcatraz Island. Along the way readers encounter the diversity of indigenous peoples who, owing to their differing lands, livelihoods, and customs, molded literature to a nation's specific needs. As Teuton shows, indigenous literature is one of the best places for understanding indigenous views about land and society and the role of humanity in the cosmos. In turning to celebrated contemporary authors such as Thomas King, Leslie Silko, Sherman Alexie, Louise Erdrich, and James Welch, Teuton demonstrates that, like indigenous people, indigenous literature continues to survive because it adapts, both honoring the past and reaching for the future.
How two centuries of Indigenous resistance created the movement proclaiming "Water is life"
In 2016, a small protest encampment at the Standing Rock Reservation in North Dakota, initially established to block construction of the Dakota Access oil pipeline, grew to be the largest Indigenous protest movement in the twenty-first century. Water Protectors knew this battle for native sovereignty had already been fought many times before, and that, even after the encampment was gone, their anticolonial struggle would continue. In Our History Is the Future, Nick Estes traces traditions of Indigenous resistance that led to the #NoDAPL movement. Our History Is the Future is at once a work of history, a manifesto, and an intergenerational story of resistance.
The Popol Vuh is the most important example of Maya literature to have survived the Spanish conquest. It is also one of the world's great creation accounts, comparable to the beauty and power of Genesis.
Most previous translations have relied on Spanish versions rather than the original K'iche'-Maya text. Based on ten years of research by a leading scholar of Maya literature, this translation with extensive notes is uniquely faithful to the original language. Retaining the poetic style of the original text, the translation is also remarkably accessible to English readers.
Illustrated with more than eighty drawings, photographs, and maps, Allen J. Christenson's authoritative version brings out the richness and elegance of this sublime work of literature, comparable to such epic masterpieces as the Ramayana and Mahabharata of India or the Iliad and Odyssey of Greece.
Style is not just the clothes on our backs--it is self-expression, representation, and transformation.
As a fashion-obsessed Ojibwe teen, Christian Allaire rarely saw anyone that looked like him in the magazines or movies he looked to for inspiration. Now the Fashion and Style Writer for Vogue, he is
working to change that--because clothes are never just clothes. Men's heels are a statement of pride in the face of LGTBQ+ discrimination, while ribbon shirts honor Indigenous ancestors and keep culture alive. Allaire takes the reader through boldly designed chapters to discuss additional topics like cosplay, make up, hijabs, and hair, probing the connections between fashion and history, culture, politics, and social justice.
Sweet Medicine is the most comprehensive record ever made of the ceremonies of the Northern Cheyennes. Volume One recounts tribal history against the background of the two great spiritual tragedies in Cheyenne life, the loss of the Sacred Arrows and the desecration of the Sacred Buffalo Hat. Volume Two records the contemporary Sacred Arrow and Sun Dance ceremonies in their entirety. Father Peter J. Powell, who has observed and participated in the rites many times, was given special permission by the Keepers of the Two Great Covenants, the Chiefs, the Headmen, and the Priests to record them in words and photographs.
Frederick E. Hoxie, one of our most prominent and celebrated academic historians of Native American history, has for years asked his undergraduate students at the beginning of each semester to write down the names of three American Indians. Almost without exception, year after year, the names are Geronimo, Sitting Bull and Crazy Horse. The general conclusion is inescapable: Most Americans instinctively view Indians as people of the past who occupy a position outside the central narrative of American history. These three individuals were warriors, men who fought violently against American expansion, lost, and died. It s taken as given that Native history has no particular relationship to what is conventionally presented as the story of America. Indians had a history too; but theirs was short and sad, and it ended a long time ago.
In "This Indian Country, " Hoxie has created a bold and sweeping counter-narrative to our conventional understanding. Native American history, he argues, is also a story of political activism, its victories hard-won in courts and campaigns rather than on the battlefield. For more than two hundred years, Indian activists some famous, many unknown beyond their own communities have sought to bridge the distance between indigenous cultures and the republican democracy of the United States through legal and political debate. Over time their struggle defined a new language of Indian rights and created a vision of American Indian identity. In the process, they entered a dialogue with other activist movements, from African American civil rights to women s rights and other progressive organizations.
Hoxie weaves a powerful narrative that connects the individual to the tribe, the tribe to the nation, and the nation to broader historical processes. He asks readers to think deeply about how a country based on the values of liberty and equality managed to adapt to the complex cultural and political demands of people who refused to be overrun or ignored. As we grapple with contemporary challenges to national institutions, from inside and outside our borders, and as we reflect on the array of shifting national and cultural identities across the globe, "This Indian Country" provides a context and a language for understanding our present dilemmas."
In "This Indian Country, " Hoxie has created a bold and sweeping counter-narrative to our conventional understanding. Native American history, he argues, is also a story of political activism, its victories hard-won in courts and campaigns rather than on the battlefield. For more than two hundred years, Indian activists some famous, many unknown beyond their own communities have sought to bridge the distance between indigenous cultures and the republican democracy of the United States through legal and political debate. Over time their struggle defined a new language of Indian rights and created a vision of American Indian identity. In the process, they entered a dialogue with other activist movements, from African American civil rights to women s rights and other progressive organizations.
Hoxie weaves a powerful narrative that connects the individual to the tribe, the tribe to the nation, and the nation to broader historical processes. He asks readers to think deeply about how a country based on the values of liberty and equality managed to adapt to the complex cultural and political demands of people who refused to be overrun or ignored. As we grapple with contemporary challenges to national institutions, from inside and outside our borders, and as we reflect on the array of shifting national and cultural identities across the globe, "This Indian Country" provides a context and a language for understanding our present dilemmas."
2010 Maverick Award winner, 2011 Aesop Prize Winner--Children's folklore section, and a 2011 Eisner Award Nominee. All cultures have tales of the trickster--a crafty creature or being who uses cunning to get food, steal precious possessions, or simply cause mischief. He disrupts the order of things, often humiliating others and sometimes himself. In Native American traditions, the trickster takes many forms, from coyote or rabbit to raccoon or raven. The first graphic anthology of Native American trickster tales, Trickster brings together Native American folklore and the world of comics. In Trickster, 24 Native storytellers were paired with 24 comic artists, telling cultural tales from across America. Ranging from serious and dramatic to funny and sometimes downright fiendish, these tales bring tricksters back into popular culture.
When Blue Bird and her grandmother leave their family's camp to gather beans for the long, threatening winter, they inadvertently avoid the horrible fate that befalls the rest of the family. Luckily, the two women are adopted by a nearby Dakota community and are eventually integrated into their kinship circles. Ella Cara Deloria's tale follows Blue Bird and her daughter, Waterlily, through the intricate kinship practices that created unity among her people. Waterlily, published after Deloria's death and generally viewed as the masterpiece of her career, offers a captivating glimpse into the daily life of the nineteenth-century Sioux. This new Bison Books edition features an introduction by Susan Gardner and an index. Purchase the audio edition.
When Blue Bird and her grandmother leave their family’s camp to gather beans for the long, threatening winter, they inadvertently avoid the horrible fate that befalls the rest of the family. Luckily, the two women are adopted by a nearby Dakota community and are eventually integrated into their kinship circles. Ella Cara Deloria’s tale follows Blue Bird and her daughter, Waterlily, through the intricate kinship practices that created unity among her people.
Waterlily, published after Deloria’s death and generally viewed as the masterpiece of her career, offers a captivating glimpse into the daily life of the nineteenth-century Sioux. This new Bison Books edition features an introduction by Susan Gardner and an index.
Depending on dialect, the Anishinaabemowin word "weweni" expresses thanks, exactitude, ease, and sincerity. In addition, the word for "relatives" is "nindenwemaaganag": those whose "enewewe," or voices, sound familiar. In Weweni, poet Margaret Noodin brings all of these meanings to bear in a unique bilingual collection. Noodin's warm and perceptive poems were written first in the Modern Anishinaabemowin double-vowel orthography and appear translated on facing pages in English.
From planetary tracking to political contrasts, stories of ghosts, and messages of trees, the poems in Weweni use many images to speak to the interconnectedness of relationships, moments of difficulty and joy, and dreams and cautions for the future. As poems move from Anishinaabemowin to English, the challenge of translation offers multiple levels of meaning-English meanings found in Anishinaabe words long as rivers and knotted like nets, English approximations that bend the dominant language in new directions, and sets of signs and ideas unable to move from one language to another. In addition to the individual dialogues played out beween Noodin's poems, the collection as a whole demonstrates a fruitful and respectful dialogue between languages and cultures.
Noodin's poems will be proof to students and speakers of Anishinaabemowin that the language can be a vital space for modern expression and, for those new to the language, a lyric invitation to further exploration. Anyone interested in poetry or linguistics will enjoy this one-of-a-kind volume.